The Black Lizard (Penguin Modern Classics – Crime & Espionage)

If you like this kind of thing, you’ll like this thing. Dry and perverse at once. (See the Black Lizard films as well)

The Black Lizard reads much like a Detective Comic and might be a turn-off to readers expecting a more nuanced and polished mystery. Several turns of events that the author conjures up are improbable at best and had the feel of Flash Gordon Meets The Dragon Lady.However, this was the feel and the intent of Pulp writing and so The Black Lizard should be approached with that in mind. If done so, it's a fun read....just remember to check your highly refined book review analytics at the door.Beast in the Shadows is different animal to be sure.While still falling into the general pulp category, this story does not have space or need for expletives such as "Bam" or "Pow".It has a completely different pacing and the sadomasochism that was suggested in the Black Lizard, is free to become a significant element in the lives and the actions of this story's chief protagonists.I gave it three stars as I think of fours stars as being a truly great work and five stars strongly suggesting that the reviewer is either friend or family to the author, works for the publisher or is the actual author.What can I say other then that I'm originally from the Bronx!

Quick and precise. greatly appreciated

This book has two storiesThe black lizard one, faces Kogoro versus the Black Lizard, a high thief woman. The battle of their two minds is vrey interesting.The second storie is interesting as well

well written and interesting.

I must say it was quite the treat to introduce myself to the acknowledged master of Japanese crime fiction, Hirai Taro, who lived from 1894 to 1965 and wrote under one of the greatest pen names ever devised. Edogawa Rampo, pronounced a certain way, bears an unmistakable resemblance to a certain Western master of detective fiction. Indeed, I was somewhat surprised to learn that the works of Poe, as well as Sir Arthur Conan Doyle, were translated into Japanese as early as 1887 and 1899, respectively. One tends to think of Japan as quite insulated culturally in the years leading up to World War II, but Edogawa Rampo was writing Western-influenced crime stories as early as 1922. This period preceding the oncoming war years was, in fact a rather free and unrestricted golden age in Japanese literature, as the somewhat salacious character of Rampo's stories can attest to. Rampo's later fiction had to be toned down considerably, but his influence on future generations of Japanese mystery writers was already assured. Today, every Japanese mystery writer's ultimate goal is to win the Edogawa Rampo Prize for the year's best novel. Sadly, though, most of Rampo's work still awaits translation into English - that's why it was such a treat to read these two early novels from Japan's grand master of the genre.The Black Lizard pits Rampo's master detective, Akechi Kogoro, against the seductive wiles of a female jewel-thief extraordinaire. The Black Lizard is an infinitely cunning adversary and master of disguise who not only challenges Kogoro's career but secures for herself a front-row seat for all the festivities of his planned downfall. Her ultimate prize is the fabulous jewel known as the Star of Egypt, which she plans to get in the form of ransom for its owner's daughter Sanae. With Kogoro putting his very career on the line to guard Sanae as well as the priceless jewel, the Black Lizard delights in the challenge. Brilliant moves by the two adversaries make this a most entertaining read, although I must admit I was taken somewhat aback by some surprisingly grotesque aspects of the Black Lizard's nature revealed toward the end.Beast in the Shadows was much more to my liking, though, as it is much more reminiscent of Edgar Allen Poe with its many dark twists and turns. The story ostensibly pits two mysteries writers against each other, with the narrator coming to the defense of a beautiful married woman who claims a former lover is threatening her. That former lover is another acclaimed mystery writer who seemingly disappeared several months earlier. But is he really the "beast in the shadows" spying on and threatening this unfortunate woman? This story is chock full of twists and turns, all of them processed through the mind of an imaginative mystery writer who ends up solving this particular case more than once. There is a surprisingly grotesque aspect to one facet of the story which I found somewhat disturbing, but Rampo succeeds masterfully at keeping a complicated story from unraveling prematurely at any point.These two short novels are quite different from one another. The Black Lizard has you asking how on a number of occasions, but Beast in the Shadows covers the gamut of who, what, how, when, and why. Both works are quite capable of whetting your appetite for more of the same. I had no knowledge of the long and rich tradition of detective fiction in Japan, but now I stand among what must surely be a growing number of Western readers eager to sample more of the wares of Edogawa Rampo and his Japanese peers. All we need is someone to translate and publish them -- let's hope Kurodahan Press keeps up the good work.

By today's standards, I think the story isn't as impressive/shocking, but it was a fun read, and a nice diversion.

The first-ever English-language translations of Edogawa Rampo’s golden age Japanese crime opera novellas The Black Lizard (Kurotokage) and Beast in the Shadows (Inju) is cause to celebrate with both your very best Ginjo sake and aged Scotch. This dark and dangerous single-volume double pleasure features a sparkling translation by Ian Hughes and insightful introduction by Mark Schreiber justifiably positioning Rampo as one of the most significant crime fiction writers of the 20th century in any language. The Black Lizard tracks the flirtatious yet fated cat-and-mouse game between the story’s namesake mistress of the underworld and the ace detective trailing her. The second tale is a lethal cocktail equal parts bad romance and deadly betrayal. Both stories may be familiar to some aficionados from their screen adaptations released in 1968 and 2008 respectively—the first directed by Kinji Fukasaku from a script based upon a stage version of the original novella by Yukio Mishima and starring the inimitable gender-fluid actor Akihiro Miwa in the title role; and the second directed by Barbet Schroeder. Kudorahan Press have produced yet another attractive Rampo tome. Artist Kawajiri Hiroaki has provided the edition’s deliciously lurid cover accompanied by a gallery of interior illustrations cleverly evocative of the late-1920s/early-1930s when the works were published initially. This ongoing series is very good news indeed as the work of Asia’s undisputed master of the mysterious and macabre is as alluring as the most seductive femme fatale.—Scot D. Ryersson and Michael Orlando Yaccarino, authors of Infinite Variety: The Life and Legend of the Marchesa Casati and editors of Spectral Haunts and Phantom Lovers

A great double bill of short novels from the Japanese master of suspense and the macabre.

The book comes with pictures of some scenes. It is beautiful.

Both the stories are quite different in their stories, but the deduction theme is consistent. The second story feels typical Japanese, leaving you with doubts in your head

excellent product. excellent service.

The black lizard was like a james bond novel but the BEAST IN THE SHADOWS is simply marvellous. A original and very imaginative story. If you like detective novels, then don’t miss it.